Anatomy of a film revolution: The case of the Nouvelle Vague
Identifieur interne : 000522 ( Istex/Curation ); précédent : 000521; suivant : 000523Anatomy of a film revolution: The case of the Nouvelle Vague
Auteurs : Seth RachlinSource :
- Poetics [ 0304-422X ] ; 1993.
English descriptors
- Teeft :
- Abstract expressionism, Alain resnais, American films, Andre bazin, Bonjour tristesse, Brigitte bardot, Cahiers, Certain sourire, Cinema, Cinema clubs, Claude chabrol, Critical issue, Critical role, Cultural forces, Cultural market, Cultural products, Film industry, Film movements, Film production, Film scene, Film subculture, Filmmaker, First films, French cinema, French film, French film industry, French films, French producers, French youth, Godard, Indigenous resources, Jeancolas, Latter part, Many others, Mass base, Moral ambiguity, Movement success, Narrative techniques, National renewal, Nouuelle, Nouvelle, Particular range, Philosophical essays, Rachlin, Rachlin noucelle, Rachlin nouuelle, Rare exceptions, Same time, Seth rachlin, Short film, Short films, Subculture, Truffaut, Vadim.
Abstract
Abstract: This paper examines the social requirements for successful movements of change within cinema. Using the case of the French Nouvelle Vague (1958–1961), I argue that the explanation of stylistic revolution in film requires a model significantly different from that developed for painting (White and White 1965, Crane 1987). The substantial cost of film production means that movements in film require some form of mass base, a base that, at least in the case analyzed herein, is formed by a combination of social, economic and cultural forces with which film has little to do. Consequently, the critical issue with respect to the success of film movements is not the formation of an audience as it is in painting, but rather the act of recognizing the potential of an audience already formed. In undertaking this process of recognition, cinema, because of its deep cost structure, is dependent on efforts within ‘cheaper’ media like literature and journalism to prove the viability of the audience for a particular range of styles, themes and narrative techniques.
Url:
DOI: 10.1016/0304-422X(93)90004-Z
Links toward previous steps (curation, corpus...)
- to stream Istex, to step Corpus: Pour aller vers cette notice dans l'étape Curation :000523
Links to Exploration step
ISTEX:0B220A47DF2BB403972612B5A413329D2361C2D2Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>Anatomy of a film revolution: The case of the Nouvelle Vague</title><author><name sortKey="Rachlin, Seth" sort="Rachlin, Seth" uniqKey="Rachlin S" first="Seth" last="Rachlin">Seth Rachlin</name></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:0B220A47DF2BB403972612B5A413329D2361C2D2</idno><date when="1993" year="1993">1993</date><idno type="doi">10.1016/0304-422X(93)90004-Z</idno><idno type="url">https://api.istex.fr/ark:/67375/6H6-DKHGLTB7-L/fulltext.pdf</idno><idno type="wicri:Area/Istex/Corpus">000523</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000523</idno><idno type="wicri:Area/Istex/Curation">000522</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a">Anatomy of a film revolution: The case of the Nouvelle Vague</title><author><name sortKey="Rachlin, Seth" sort="Rachlin, Seth" uniqKey="Rachlin S" first="Seth" last="Rachlin">Seth Rachlin</name></author></analytic><monogr></monogr><series><title level="j">Poetics</title><title level="j" type="abbrev">POETIC</title><idno type="ISSN">0304-422X</idno><imprint><publisher>ELSEVIER</publisher><date type="published" when="1993">1993</date><biblScope unit="volume">21</biblScope><biblScope unit="issue">5</biblScope><biblScope unit="page" from="429">429</biblScope><biblScope unit="page" to="442">442</biblScope></imprint><idno type="ISSN">0304-422X</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0304-422X</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Abstract expressionism</term><term>Alain resnais</term><term>American films</term><term>Andre bazin</term><term>Bonjour tristesse</term><term>Brigitte bardot</term><term>Cahiers</term><term>Certain sourire</term><term>Cinema</term><term>Cinema clubs</term><term>Claude chabrol</term><term>Critical issue</term><term>Critical role</term><term>Cultural forces</term><term>Cultural market</term><term>Cultural products</term><term>Film industry</term><term>Film movements</term><term>Film production</term><term>Film scene</term><term>Film subculture</term><term>Filmmaker</term><term>First films</term><term>French cinema</term><term>French film</term><term>French film industry</term><term>French films</term><term>French producers</term><term>French youth</term><term>Godard</term><term>Indigenous resources</term><term>Jeancolas</term><term>Latter part</term><term>Many others</term><term>Mass base</term><term>Moral ambiguity</term><term>Movement success</term><term>Narrative techniques</term><term>National renewal</term><term>Nouuelle</term><term>Nouvelle</term><term>Particular range</term><term>Philosophical essays</term><term>Rachlin</term><term>Rachlin noucelle</term><term>Rachlin nouuelle</term><term>Rare exceptions</term><term>Same time</term><term>Seth rachlin</term><term>Short film</term><term>Short films</term><term>Subculture</term><term>Truffaut</term><term>Vadim</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Abstract: This paper examines the social requirements for successful movements of change within cinema. Using the case of the French Nouvelle Vague (1958–1961), I argue that the explanation of stylistic revolution in film requires a model significantly different from that developed for painting (White and White 1965, Crane 1987). The substantial cost of film production means that movements in film require some form of mass base, a base that, at least in the case analyzed herein, is formed by a combination of social, economic and cultural forces with which film has little to do. Consequently, the critical issue with respect to the success of film movements is not the formation of an audience as it is in painting, but rather the act of recognizing the potential of an audience already formed. In undertaking this process of recognition, cinema, because of its deep cost structure, is dependent on efforts within ‘cheaper’ media like literature and journalism to prove the viability of the audience for a particular range of styles, themes and narrative techniques.</div></front></TEI></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Europe/France/explor/NotreDameDeParisV1/Data/Istex/Curation
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000522 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Curation/biblio.hfd -nk 000522 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Europe/France
|area= NotreDameDeParisV1
|flux= Istex
|étape= Curation
|type= RBID
|clé= ISTEX:0B220A47DF2BB403972612B5A413329D2361C2D2
|texte= Anatomy of a film revolution: The case of the Nouvelle Vague
}}
| This area was generated with Dilib version V0.6.33. |  |